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Neil Patrick Harris, Josh Duhamel, Zach Galifianakis and Will Ferrell hare also taped Word To Your Mother videos encouraging women to get screened as America celebrates Mother's Day this weekend.
The short clips, shot for cancer research organisation The Noreen Fraser Foundation, stress the importance of early detection in the fight against the deadly disease.
In her video, Kardashian says, "Taking care of your health is the best gift you can give yourself. So please remember, eat healthy, exercise and get screened."
And Segel jokes, "Hey, you obviously know who I am. I'm Jason Segel, star of TV and film. I've given you a lot of comedy and all I ask is you give me one thing in return. Go make an appointment for your mammogram or pap smear. It's the least you could do for all I've given you. Happy Mother's Day."

The Cabin in the Woods is shuffling nearer and nearer to its long-overdue release. The film, directed and co-written by Cloverfield’s Drew Goddard as well as co-written by The Avengers’ Joss Whedon, is both a loving tribute to the horror genre and its most brilliant deconstruction. And it's only a bonus that the film comes courtesy of Goddard and Whedon, television royalty responsible for Buffy, Firefly, Lost, and Angel. Oh yeah, and not to mention Whedon's The Avengers, arguably the most highly anticipated film of 2012.
The Cabin in the Woods played to rave reviews and thunderously appreciative crowds during SxSW (read our own spoiler-free reactions for proof) and at a roundtable at the festival, Whedon dished on his inspirations, working with Drew, and how he brought his unique style to the world of horror:
On Whedon's reputation for killing characters and whether or not he had wanted to do a horror film for a long time:
Whedon: We like killing characters and I think we’re ready to step it up and kill actual people. [Laughs] I do not love to kill people. I love the people, and by that I mean the people that we write. I don’t love actual people. I don’t love drifters. Part of this movie was actually about the idea that people are not expendable. As a culture, for our own entertainment, we tend to assume that they are. And although I absolutely love horror movies, and always have, but I love them most when I really care about the people who are in dire trouble. With the exception of Alien… I was very frightened by that movie because they didn’t care about each other. I never believed they were going to ban together and fight back. I thought that they would sell each other down the river in a heartbeat. That actually scared me more than the other stuff.
On the influence of horror comedy vets like Joe Dante (Gremlins):
Whedon: I think Joe Dante did have a great flair for writing absurdity, and just enough. Occasionally it would tip over, and if it does you’re going to lose people a little bit. But there’s a sort of absurd integrity to this that has a little bit of that Dante flavor. I had not thought about until now, but it’s definitely in there.
On whether the idea began with the cabin itself:
Whedon: It was always going to be the cabin because that was iconic to us; not just because of Evil Dead, but not NOT because of Evil Dead.
On the film’s focus on female empowerment and Whedon’s inclination to create strong female characters:
Whedon: I really don’t get that whole female empowerment thing; those femi-Nazis as I call them. [Laughs] It was important for the characters to have integrity and we just sort of left it at that. This is not a movie about gender. I’ve seen the movie several times and, oddly enough, there is no adolescent girl with superpowers in it, which was weird for me. It is not a text about that. We just wanted to make sure that our characters were human beings with integrity across the board.
On the movie’s lengthy delay in the wake of MGM’s bankruptcy:
Whedon: For me, the advantage is simply that you’re not busy trying to dial in the last bits. The pain of childbirth is somewhat forgotten and it just feels like a big gift.
On what inspired Cabin’s story and how long it gestated in Whedon and Goddard’s brains:
Whedon: The story itself really just sort of popped out. I was like one of those women who don’t know that their pregnant until the baby arrives. It’s just so clearly the kind of thing we love: true horror with a cold eye toward what it’s about. Then once the idea came, it was years before we actually sat down and did it. But that was [what] made it so easy to do when we finally did. We bandied back and forth — "You know what would be hilarious… ", "You know what would be fun… ", "Oh, I wish we could… " This is an entire movie of "I wish we could." It’s two raging ids enjoying themselves for 90 minutes.
On the specificity of Whedon’s dialogue and how he applies that sensibility to different genres:
Whedon: I talk, other people like to talk. I talk. Talking is normals [sic]. It’s a blessing and a curse to have your style recognized. Part of the great thing about running a TV show is that you get a bunch of people together who both echo it and influence it. Drew and I, when we write, we speak each other’s language. It’s the same voice. Ultimately, I don’t want people to hear my voice. I want them to go, “oh, what’s going to happen to Marty?” I don’t want the distance that that brings. But… I look in the mirror every morning and say, “God damn, I’m still not the Coen Brothers!”
On the status of The Avengers:
Whedon: We are picture-locked. We’re just doing sound mix and finishing effects. In about a month I will push it away from me and… die of old age.
On whether or not Dr. Horrible 2 was still in the works:
Whedon: That’s the plan. We plan to be working on it this summer.
More:
Cabin in the Woods: The Most Crowd-Pleasing Movie of All Time?
Dr. Horrible: Watch Neil Patrick Harris' Superhero Musical Right Now
The Avengers Pics: See Joss Whedon as Super-Director

It’s almost like Mad Men never left. The Season Five premiere of AMC’s renowned 60s drama signaled one thing: this series isn’t capable of going downhill.
We’re thrown about a year into the future judging by the birth of Joan’s baby, and we find the explosion of the results of the Civil Rights Movement, a married Don Draper, Sterling Cooper Draper Pryce on the rise at the hands of Pete Campbell, Roger fighting the decline of business as he knew it, Lane failing to fight his own baser instincts, and absolutely zero Betty.
And while the term “Mad Men Movie” was thrown out as a joke when the network announced the premiere would run two hours, the episode actually feels cinematic. Production value aside, the structure of the episode with the bookends of crowds of African-American protesters, Pete on his commute to and from Greenwich, Conn., plus Megan’s big musical number at the center give the episode an even greater heartiness than we’ve come to expect from Mad Men. In essence, it was the perfect way for the series to apologize for its long absence.
“We were just laughing at Y&amp;R.” -Mohawk Exec
“Couldn’t have happened to a better bunch of bigots.” -Pete
The episode opens with no familiar characters - a bold move for a series coming off a 17-month hiatus, and an even stronger mark of its staying power. Instead of Don or Roger or Peggy, we meet a few creative peons at SCDP’s rival ad agency, Y&amp;R. Outside, African-Americans are protesting the lack of equal opportunity employment and the Y&amp;R lackies begin dropping water bombs on the protesters in complete disregard for their humanity or their rights.
This puts SCDP on top immediately for being the ad agency who’s not proliferating racial stereotypes and disrespecting African-Americans. First, the company took a stand on cigarettes, and now, they’re headed for promoting racial equality. SCDP is moving into the future, and we’re about to see who’ll be able to hang on for that ride. Roger thinks they should rub it in Y&amp;R’s face and run an “Equal Opportunity Employment” ad even though they can’t hire anyone, completely missing the point of the EEO movement and looking at it opportunistically instead. Lane advises against it because the company isn’t quite in the black, but Roger’s not known to follow anyone else’s direction.
“So when you’re 40, how old will I be?” -Don
“You’ll be dead.” -Bobby
King among ad men, Don, is finally turning the big 4-0 and while he seems determined to bury that fact, Megan is ready to celebrate it. However, her involvement in his age milestone is half the problem. In the office, she worries that the others think they fool around at work and at first, he’s fine with it. But when Megan throws him a surprise party with the help of her progressive, young, hip friends, her youthful vivacity generates a schism between them.
At the party, Megan is palling around with her young friends, artistic types and even one African-American, gay young man who draws commentary from the peanut gallery. The party is no simple soiree; it serves as a glance at the split happening in 1966 society. Burt Cooper is arguing about war and the cost of bombs with Peggy’s journalist boyfriend Abe, and Abe clashes again with Trudy Campbell when he brings up the terrible state of the country due to race riots and she laments the police’s lack of control rather than the inequality generating the violence. Roger comments that Don will never understand what Megan and her young friends are gabbing about, but that he can be sure it’s not him.
And when Megan finally stands up a delivers Don’s birthday present, an overtly sexual performance of “Zou Bisou Bisou,” Don feels the full weight of the young versus old age gap and becomes irritated. The party practically throws him into the Roger category, making him another old world ad exec who married his secretary. And though they’re more than that, it seems the pressure of his 40th birthday and the public nature of Megan’s sexual dance is too heavy for him to see that.
“Where am I supposed to conduct business?” -Pete
“In the crapper for all I care.” -Roger
We first find Pete on the train talking to one of his commuting buddies and lamenting the changes his move and the new baby have brought into his life. He never sees Trudy and she’s always in her robe instead of dressed to the nines like she did when they lived a fashionable Manhattan life. Now she’d like nothing better than stay solidly in the quiet suburbs, but Pete’s not so sure.
Meanwhile, at work, Pete’s the one bringing in the bulk of SCDP’s new clients and he’s not getting much respect for it - especially from Roger. In fact, Roger’s been hovering at his secretary’s desk and usurping his meetings with prospective clients, hanging onto the old world practices of smoky, boozy lunches and potentially losing business for SCDP, but more importantly, stealing Pete’s hard work. It’s an interesting dynamic because Roger can’t seem to get his own meetings, but he’s accomplishing little by stealing Pete’s since his skills are in the old style. But Pete doesn’t let this lie.
First, he tries a power play. He calls a partner meeting in his dank little office. He’s got Peggy and Ken Cosgrove reporting to him, he’s bringing in more new clients than anyone, and he has to entertain them in the conference room or his tiny office? Nope. He demands that Roger switch offices with him. Roger, of course, will hear nothing of the sort but knows that on some level Pete is right. His solution? Pay Harry Crane $1100 of his own cash to switch with Pete. And while Pete’s happy to have a better office, he didn’t get his real goal: power over Roger. But he has a second plan: he has Clara put a phony 6 a.m. appointment with Coca-Cola on his books to teach Roger a lesson - and Roger bites.
The world really has changed. We never thought we’d see the day Pete Campbell would get Roger Sterling running around in desperation, but it’s a new world and the Petes of the world are the ones who understand it. The Roger Sterlings are the ones facing an uphill battle. And we see just how comfortable Pete is when he tells his train buddies that he’s springing for a pricey in-ground pool before he even gets his Christmas bonus.
“Joan, he’s not going to allow you to work.” -Gail
“Allow me?” -Joan
Joan gave birth, but her husband is still overseas, so her mother is in the city to help with the baby. And in yet another instance of old world versus new world, Joan and her mother are at odds. While she’s exhausted taking care of the baby, Joan is going crazy not being at work. Her mother seems to think the job is all about money and since Mr. Harris is actually a Dr. Harris, there’s no need for Joan to work - except for the fact that Joan loves her job.
Her mother sees the ad SCDP ran about Equal Opportunity and assumes it means Joan is being replaced, a fear that Joan doesn’t share until she visits the office and meets the new girl they hired to help the other secretaries cover her job. After Megan holds the baby and puts pressure on Don for their own bundle of joy, Roger awkwardly holds the baby with a cigarette in his mouth, and Peggy refuses any interaction with the tiny human until she’s forced to take care of it and then awkwardly pawn it off on Pete (tiny glimpse of what could have been), Joan pays Lane a visit.
He asks for her help with the books, and she thinks she’s being eliminated, but of course, he says the office can’t run without her. Her hormones, lack of sleep and love of her job overwhelm her and she weeps when she realizes how much she’s needed at the company. And at the end of the episode, we see Joan and her mother working together to get the baby to sleep - perhaps a signal that her mother supports her return to work. Perhaps some old world stalwarts can become converts with the right push.
“I’d feel better if I saw to its return.” -Lane
Lane’s story is a bit of an odd element. It does attach via the racism angle because it starts when he finds a discarded wallet with $100 cash in his cab and refuses to allow the cabbie to see to its return, distrusting that the wallet would be returned with the cash. Lane’s also potentially dealing with money troubles, disallowing his wife to pay his son’s tuition bill or write any checks without his permission first. To top it off, despite Mrs. Pryce’s presence in the city, he can’t manage to keep his interest pointing in her direction.
It could be the stimulus of Megan’s “Zou Bisou Bisou” performance that riles him up, but when the wallet-loser’s girlfriend calls and Lane sees her picture in the billfold, he throws all caution to the wind, engaging in suggestive conversation and allowing himself to get excited about the woman coming to his office to retrieve the wallet. To his dismay, the wallet owner actually shows up and Lane keeps the photo of Dolores and stores it in his own billfold. His wife may be in New York, but he’s tasted freedom and it’s clear he’s not ready to be tethered again.
“Clients are right all the sudden? I don’t recognize that man. He’s kind and patient.” -Peggy
After bombing her first pitch to Heintz Baked Beans, Peggy is miffed. Her best idea goes completely to waste and Don doesn’t do his usual “we’re the experts” spiel to save it. Peggy’s angry, but Don sides with the clients, noting that after the year SCDP has had, they’re simply “making us work for it.”
The anger overtakes Peggy and she has an outburst at his party, complaining about having to work on Heintz over the weekend. The comment is smoothed over by a kiss from Abe, but comes back to bite her when Megan confronts her. Megan says she did just as much work over the weekend before breaking down into tears over Don’s disappointment with the party. Peggy, not realizing greater forces are at work here and that the issue is the overall office perception of Megan (thanks in great part to Harry Crane’s crass comments) and the pressure from Don, apologizes to Don for her comments suggesting that they were the reason he didn’t enjoy his party.
Megan goes home early and Peggy suggests that Don leave her alone, but Don retorts that Peggy knows nothing about Megan. What he really means is that she knows nothing about Don and Megan: they aren’t Roger and his wife or some other typical boss married to his secretary. When he meets Megan at home that becomes clear. After her anger turns into a sexual game, Don admits that everything - getting Megan hired at SCDP, letting her buy impractical white carpet - is because he loves her, wants her around, and wants to see her happy. We even learn that he shares the secret of his identity with her - something Betty only ever knew about because she snooped in his study. Megan and Don show up hand in hand the next day as a united front and while we can’t be sure it will last, it’s clear that Don Draper is legitimately in love and that, for the time being, he’s managing to put outside pressures aside.
“We can’t put one of them out front.” -Roger
The EEO ad drums up quite a crowd in the SCDP offices, with 20 or so African-American applicants arriving to seek out these supposed equal jobs. The problem is that while SCDP is stable, they have no funds for new hires. But, Y&amp;R is there to force their hand: the rival agency sends a tribal statue with an offensive, racist joke resume attached as the group is waiting in the lobby. They saw the joke gift and if SCDP doesn’t hire at least one African-American employee, they could be facing picketing just like their bigot rivals.
In response, Lane elects to hire a secretary from the pool. SCDP is getting even more progressive, whether they can afford it or not. The change in the makeup of the office is sure to bring all the latent race issues that past seasons have simply touched upon into the front and center of the office dynamics, which is risky territory. However, if Mad Men is anything, it’s a show that thrives on risky business.
How did you like the racially-charged season premiere? Do you think Roger will ever find a way to keep up with Pete? How long do you think Don’s happiness will last? Where’s Betty and what do you think she’s up to? Let us know in the comments or get at me on Twitter.@KelseaStahler

S7E18: The most important thing to take from this week’s episode of How I Met Your Mother, “Karma,” is this: the writers of this show really hate Long Island. And it’s an irrational, haphazard hate. One week, they depict Long Islanders as a bunch of Rosie Perezes circa Do the Right Thing. Now, they’re switching to a sort of Stepford retirement community. Just pick a stereotype and stick to it. But I guess there actually are more important things to focus on regarding “Karma.” For instance, Karma.
"I swear, I never say crap like this. But I think, maybe, the universe is telling us something." - Barney Barney drives the A-story in his attempts to get to know Quinn, the girl he slept with around Valentine’s Day. He learns that she’s a stripper at the club he frequents (he’s not really one for eye contact), but does not let her profession stop him. Barney admits to genuinely liking and feeling challenged by Quinn. So, he makes an attempt to take her out. But here’s the kicker: she’s exactly like him. Quinn lies to Barney—tricking him into thinking that buying dances at the strip club is the only way he can spend time with her due to a fictitiously vigilant manager. Barney is head over heels for Quinn, so he eagerly gives into all of her tricks…right up until he notices her pulling the same exact game on some other guy at the club. Barney has a rare moment of profound reflection, recognizing that he deserves everything she is doing to him and then some. But he also admits that he is trying to be a better person, and that he actually has sincere intentions with her—due, naturally, to the fact that they’re practically kindred spirits. "I am so sorry. Your clothes accidentally ended up in this bag I donated to Good Will." - Lily At least a little bit moved by Barney’s speech, Quinn agrees to give him a chance. Two reformed sociopathic swindlers making a go at falling for one another. If that ain’t true romance… Can we hope that Barney’s fling with Quinn is just filler until he gets together with Robin? It is getting a little close to the end of the season for a Stinson-Scherbatsky reconnection/courtship/engagement/marriage. Could Quinn be the one Barney ends up with? A female Barney capable of turning him into a better man as he turns her into a better woman? Is this the fate we are meant to accept?! A little dramatic, I know, but we shippers are a passionate bunch. “Also, diary, I think writing in you is stupid, but you were a gift from Lily, and she’s watching me right now.” - Robin Speaking of Robin, she decides to stay with Marshall and Lily out in East Meadow, LI, for the time being (she moved out last week thanks to Marshall’s recommendation). Unfortunately, Robin finds this to be a hostile arrangement. Marshall and Lily have become boring suburbans who compulsively rope her into their mundane ideas of fun...and they won’t let her leave. Eventually, Robin gets it out of Marshall and Lily that they, too, hate Long Island, and need her there to ease the pain of living in what these writers apparently think is the worst place in the world. I believe it needs to be pointed out that Long Island is famous for its exquisite array of beautiful beaches, haunted locations and terrific bagels. So ease up, HIMYM. Marshall and Lily insist on staying, despite their misery, because they believe it’d be better for their baby—but more so, because they seem to be afraid or ashamed of “backing out” of this commitment. Robin tries to convince them that they should do whatever makes them happy, but to no avail. Until Ted comes along. "Shirley’s forty-two and rides a rascal. I swear, it’s the second half of Wall-E up here." - RobinAll episode long, Ted is dealing with his own misery. The misery of losing Robin, and of being alone, and of finding himself incapable of wood crafts and meat-smoking (he takes up a lot of hobbies to get his mind off his unhappiness). All the while, Ted talks to an imaginary Robin, who tries to convince him that all of this is a waste of time, and that he needs to do something more substantial to rid himself of the loneliness he feels in his apartment. And then, the real Robin shows up. They discuss a few things. Marshall’s and Lily’s unhappiness on Long Island, for one. More substantially, they discuss the end to their on-again-off-again ordeal…tacitly, but hardly subtly. Ted understands a little bit more that he really needs to move on, so that he can find something more meaningful than just a distraction from what he really wants… And he does. Ted calls Marshall and Lily, asking them to meet him at the apartment. But when they get there, all of his stuff is moved out, and there is only a note to greet them: he has given them the apartment—and they’re pretty thrilled about it. But the questions arise: what is Ted going to do now? Is this when he gets back into actually being an architect and building that skyscraper in the New York City skyline? We know it won’t be ‘til May that he meets the mother, so I predict a whole lot of existentialistic futzing around on Mr. Mosby’s part. In other words, I feel like there is a chance we might be in for a lot of Marshall/Lily/Robin/Barney-centric episodes—which is a shame, because when Ted is at his best, he is my favorite character. But we’ll have to see where this new conquest takes him. On the same token, where is Robin living? Are both of them homeless? Will the economy finally take a toll on this group of over privileged alcoholics? Let us know what you think about where Barney, Ted and Robin will go from here in the comments section, or on Twitter @Hollywood.com and @MichaelArbeiter.

The blonde beauty called off her engagement to Hefner last week (14Jun11) and packed up her pooch and moved out of the Playboy Mansion in Los Angeles, where she was set to become the publisher's wife on Saturday (18Jun11).
But Harris has since paid a visit to her ex and brought along her Cavalier King Charles, Charlie, who called the Mansion home.
As a kind gesture, Harris handed over her beloved pup to Hefner, who had become close to the pet.
Hef took to his Twitter.com account with the happy news and wrote, "Crystal brought Charlie back because she thinks he's happier here. I appreciate it, because I really missed him."
Harris has kept the engagement ring Hefner gave her when he proposed on Christmas Day (25Dec10), although she recently told one U.S. news show she'd hand the sparkler back if her ex asked for her to return it.

S10E9: Holy over-the-top drama. Last night was a long episode. Granted, group week is usually my favorite because it’s when everyone’s crazy starts to come out, and boy did it ever. The folks at Idol flipped the usual group week antics upside down. When students of the show got ahead of the game by forming groups during the first round of auditions, dreaming up routines and practicing whenever they could, the judges announced that this year the rules had changed. Every group would have to be part Day 1 contestants and Part Day 2 and they’d have to choose songs from a pre-set list. Well crap. Of course, tears and pandemonium ensued – as well as some serious heartlessness. Here’s a tip Idol hopefuls: you aren’t going to win the hearts of American voters if you kick a 15 year old sweetheart out of your group at midnight.
After nearly an hour of set-up, watching the groups flounder to get members, and subsequently fight for space to rehearse, the judges were finally ready to begin the judging. And away we go.
“He came out gangbusters…I think they all went off.” – Steven
Right out of the gate, the groups were shaping up to be pretty good. First up was a trio made up of Pia Toscano, Alessandra Guercio and Brielle Von Hugel singing “Grenade” by Bruno Mars. The New York natives did an adequate rendition of the song and fulfilled the choreography requirement by pretending they were in a Destiny’s Child video from 1999, but that was enough and they all made it through.
Then came the first sign of trouble after all the pre-audition drama. Jordan Dorsey, who will likely not be getting many votes after this display, ditched his group, 440, after playing prima donna all day and telling every potential new member they weren’t good enough. His new group, who changed their name to 4+1 in honor of the recent addition, also featured audience favorite Robbie Rosen and did an nice version of the Jackson 5’s “ABC” that allowed them to make it to the next round. (And even though Rosen aligned himself with the Jordan bozo, I’m still hoping he sticks around.)
Next, of course, because Idol loves the drama, was Jordan’s abandoned group 440 singing the song also known as “Fuck You.” (Take that TV sensors.) Because Idol cuts up the songs so we only see the faces they’re interested in, we saw both Adrian Michaels and Lauren Turner belt it out despite their frustrations due to the wrench Jordan’s decision threw into their routine. They were able to hold their heads high afterward because after a dramatic display of making them each step forward one by one, they all made it through.
“Oh you guys. I’m so scared of this group.” –JLo
Oh, Tiffany Rios, you nutcase. After searching tirelessly for someone, ANYONE to join her group, Tiffany had scored Jessica Yantz as her partner in crime, but no matter how hard they tried (including serenading the unwilling listeners in the auditorium) they couldn’t find a third person to meet the requirements. So they performed a duet and it was horrific. I didn’t know that “Irreplaceable” could sound so much like a horror movie. Then again, I didn’t think she’d make it past the first audition back in New Jersey, so what do I know? Buh-bye, ladies.
From “Irreplaceable” to irresponsible we go as Kevin Campos completely screws his group, Spanglish, by sleeping in until noon. Ass. The good thing about this little screw-up is that it gives Steven a chance to play the drums to pass the time while everyone waits for Kevin to get his act together. (Did anyone else think he looked like Animal from Dr. Teeth and The Electric Mayhem?) When the group finally got up there, Jovany Barreto, Jorge Gabriel and Karen Rodriguez were obviously shaken up by their teammate's dumbassery, but only Jovany and Karen managed to continue on after Steven accidentally told them they’d all make it (and after their onstage celebration made their rejected teammates cry even more). Yikes.
“You fell off the melody…” –Steven
“And forgot all the words.” –JLo
Well, you can’t argue with that; and things continued to underwhelm the judges. Lauren Alaina and her group tried something a little different: they brought Steven up onstage and sang directly to him, even getting him to sing along with them at the end. It was pretty cute. Unfortunately for everyone but Alaina, the judges were impressed with the creativity, but not the vocals. Yeah, you know that little thing that the whole competition is based on. At least Lauren’s teammates were sweet about it.
Then things started to get really, really ugly. The “Nashville Stars” featured crowd favorite Matt Dillard as well as Colton Dixon, but by the time they were done singing the judges were holding their heads in frustration it was so bad. Colton managed to hold his own amongst the muck and walked away as the only one to continue on. This bad streak continued (so brace yourself) with a string of our favorites going off key and piercing ear drums left and right. Shannon Livewell, Brianna Tyson, Janelle Arthur, and Caitlin Koch were all sent packing. Steven’s protégé, Alyson Jaydos, was also sent packing after she just couldn’t cut it (but we could have told you that after her first audition). Many of you may be surprised by Paris Tassin’s expulsion from the competition, but to be honest, her performance of “My Heart Will Go On” last week was actually kind of awful. We all want her to succeed because of her backstory, but the fact is, her voice isn’t strong enough to keep her there.
“I was bathing in your vocals” -Steven
After Ashley Sullivan faked her group out about leaving the competition at nearly 2 a.m., the performed quite well, giving them all a chance to see Ashley’s INSANE happy dance. (I’m afraid we’re going to see a lot more of that.)
Then came more rivalries! Gee, their forming quickly. “The Minors” and the “Deep Vs” are in a bit of a rift because James Durbin of the Vs is pissed about The Minors receiving help from their moms, and then there’s the whole issue of the two groups singing the same song. Too bad no amount of mama’s help could have saved the Vs from their terrible audition. Only Caleb Johnson and James Durbin made it through (although I still think his voice is just downright unpleasant, and now he’s a whiner to boot). Just like JLo predicted, Emma Henry gets swallowed up in the competition and is sent home. It’s a wonder she made it past the sudden death round, to be honest.
The Minors, who included Jalen Harris, Sarina Joi Cole and Deandre Brackensick were absolutely fantastic. I highly doubt that they suddenly gained extra pure talent in those 10 hours of rehearsal. It must suck to be Durbin and have all that whining put on national TV only to be proven wrong. Sorry, dude.
“You goin’ to hoot for us?” –Steven
Corey Levoy and Hollie Cavanaugh’s group makes it through despite half of them forgetting the words. Then one dumbass is stupid enough to ask the judges why they were sent through. DON’T LOOK A GIFT STEVEN TYLER IN THE MOUTH DUDE. It’s scary.
The next two groups braved a capella auditions. The first was pretty awful, yet Julie Zorilla from Colombia and Casey “Fraggle Rock” Abrams managed to shine and continue on. (Can I just say again how much I love Casey Abrams? Dude can really sing…dawg.) Next was Naima Adedapo’s group; she and teammate Jacob Lusk were the only fantastic ones (Lusk adding an interesting little twist to the end of the song) but they all made it through and I’m still not sure why.
“I don’t know that song.” –Jacee Badeaux
“Well, you can learn it.” –Brett Lowenstern
“The Four Non-blondes and That Guy” featured Devyn Rush (who famously lost her job after auditioning for Idol), Carson Higgins, Caleb Hawley, and Chris Medina. The only standout here was Carson Higgins who was like an awesome singing cartoon. Only Devyn was sent home and she cried about how wrong they were – and sometimes they are, but thems the breaks homeslice.
Finally, we get to the group that accepted sweet little Jacee Badeaux after his original group rejected him in the wee hours of the morning. He didn’t know the words to “Mercy” but made his own little jingle (he only had a few hours to learn it!) and the judges had mercy on the poor kid and sent him and his group members who included Denise Jackson and Brett Lowenstern who is not only an awesome singer, but one of the sweetest people in that auditorium. It just warms my heart. (Oh no, I sound like my grandma.)
Jacee’s rejectors, let by the mega-annoying Clint Jun Gamboa, have to fumble on stage while the judges grill them about screwing over the sweetest little boy, but they manage to pull out a decent performance and they all continue on. Of course, now that he has to face the problem, Scotty McCreery is all teary eyed and sorry that he didn’t stick up for Jacee. Why don’t you go apologize to him instead of CRYING INTO THE CAMERA LIKE A PRIMA DONNA.
“Can we do it like a million more times and then we’ll move on?” –Jaqueline Dunford
Last group! We made it. Thanks for sticking with me. Three’s Company was the group of couples whose plans were dashed when Nick Fink was sent home (good riddance). Chelsee Oaks and her ex Rob Bolin partnered with the abandoned girlfriend Jaqueline Dunford who quickly took over everything. By the time they reach the stage, Rob is so tired he can’t remember the words and completely gives up on the competition. Buh-bye. Something tells me that he’s totally okay with that. Maybe it’s that vacant look in his eyes. Oh well. The girls make it through, although personally I think Jaqueline’s voice is unpleasant and she should have been sent packing with her boyfriend.
Now, let’s all rest up and get prepared for tonight, when the contestants will each fend for themselves and we’ll see who gets to make it to the Idol stage.

The 84-year-old publishing mogul popped the question to his 24-year-old fiancee over the holidays and he personalised the proposal by handing Harris her ring in an unusual box.
Hefner explains, "I got her a little music box with the Mermaid theme to it, and it just looked like the perfect size and the perfect place to be the ring box. So when she started unwrapping that gift, I reached over and wound it so it was playing music while she discovered what was inside."
Harris adds to People.com, "We were up in the bedroom and my favourite movie is The Little Mermaid, so he had the ring in a Little Mermaid box, and that was so special. I opened it and the first thing he said to me was, 'I hope it fits!'"
And the Playboy founder insists the massive age-gap between the couple doesn't matter: "(She) is so totally devoted. Her priorities are pretty much our relationship, No. 1 and No. 2 and 3, and you don't always find that. Despite the age disparity, the truth of the matter is we have a great deal in common, we really complement one another, we have a wonderful time together, and I love her."

Hefner, 84, proposed to 24-year-old Crystal Harris on Christmas Day (25Dec10), and Playboy Playmate-turned reality TV star Marquadt has been among the first to send the couple a gift.
The publisher took to Twitter.com and told followers, "Crystal and I received a sweet note of congratulations on our engagement from Bridget Marquardt with a box of Sprinkles 'I Do' cupcakes."
The Playboy boss' teenage son Cooper has also taken to Twitter.com to defend his dad's decision to wed someone 60 years his junior.
The 19 year old writes, "Age is truly just a number and all I want is for my dad to be happy. I couldn't be more thrilled."